LITERARY LIFE 25!
Before she spoke, she had reddened,
Like a cherry ripe-broken,
Like a statue white, molten;
In a moment,
She'd have spoken
A string of notes sweet and golden.
When she turned sideways, her beauty was described in the
Her jade hair-pin declining,
Brows d la palace like the new moon reclining,
Into her black velvet temples resigning.
When she moved it was described:
Now she moves her steps, cunning, pretty,
Her waist soft like a southern ditty,
So gracefully slender,
So helplessly tender,
Like weeping willows before a zephyr giddy.
It is interesting to note here that rhythm as understood in
Chinese dramatic poetry and in Chinese music is different
from the regular rhythm in Western poetry and music. There
is no reason why the two fundamental metres of twos and
threes should not be used in some kind of regular combination
in English poetry. This has been done with great success in
the Sung tŁu and Yiian dramas, producing a more modulated
rhythm than the straight use of twos or threes throughout the
line. The idea is worth experiment by some qualified English
Through its immense popularity the theatre has achieved a
place in the national Chinese life very nearly corresponding to
its logical place in an ideal republic. Apart from teaching the
people an intense love of music, it has taught the Chinese
people, over ninety per cent of whom are illiterate, a knowledge
3f history truly amazing, crystallizing, as it were, the folklore